Video
Historical Narrative
Composed in 1989, I Want Jesus to Walk With Me reflects Betty Jackson King’s reverence for the Negro spiritual as both a sacred and cultural art form. King dedicated this arrangement to the Albert McNeil Jubilee Singers, a distinguished Los Angeles–based ensemble founded in 1968 by Dr. Albert J. McNeil. Known for their exquisite blend, disciplined precision, and emotional authenticity, the Jubilee Singers became international ambassadors of the spiritual, performing in concert halls and cathedrals across the United States, Europe, Africa, and Asia. Their artistry elevated the spiritual to concert-level performance while preserving its deep spiritual roots.
Both Dr. King and Dr. McNeil were active members of the National Association of Negro Musicians, Inc. (NANM, Inc.), an organization dedicated to supporting and promoting African American musicians. King, who served as NANM’s National President from 1970 to 1984, championed the publication and preservation of Black composers’ works, while McNeil contributed through the Los Angeles branch as a conductor and educator, often performing and mentoring young artists under NANM’s umbrella. Their shared mission—to preserve and promote the Negro spiritual as a vital part of America’s musical heritage—formed the foundation of their professional respect and likely inspired King’s dedication of this piece to McNeil’s renowned choir.
Through this arrangement, Betty Jackson King paid tribute not only to the enduring faith expressed in the text but also to the artistry of an ensemble whose sound embodied the same devotion. The partnership between composer and ensemble stands as a symbolic collaboration between two cultural visionaries within the NANM tradition, both committed to ensuring that the music of their heritage would continue to inspire generations to come.
Musical Description
Set in the key of F major and marked “Slow,” I Want Jesus to Walk With Me opens with a contemplative character, inviting the listener into a prayerful dialogue between faith and endurance. The quiet introduction unfolds in homophonic texture, allowing the text’s plea for divine companionship to resonate with intimacy and reverence. Betty Jackson King uses subtle chromatic shifts and suspensions to create emotional tension, while the legato phrasing and soft dynamics evoke a sense of quiet perseverance. The deliberate pacing encourages choirs to linger on each phrase, emphasizing the spiritual depth of the text.
As the piece develops, King introduces layered entries and imitative lines, enriching the texture without sacrificing clarity. Around measure 15, the voices begin to weave independently, building toward a climactic repetition of “Jesus, Jesus” that unifies the choir in a moment of shared spiritual urgency. The harmonic progression alternates between moments of longing and gentle resolution, mirroring the believer’s walk through trials and faith. Her use of dynamic shading—from piano to mezzo-forte—creates an expressive arc that gives life to the phrase “I want Jesus to walk with me.” Its restrained beauty and emotional depth make it ideal for concert performance, sacred services, or memorial occasions where the message of steadfast faith and divine companionship speaks profoundly to all who listen.